Friday, April 08, 2016

March 2016 reviews

Streaming is great for sample
purposes, but please support your favourite artists financially.

The following reviews ran in
the Waterloo Record in March.

Black Mountain – IV (Dine Alone)

“Our Strongest Material To Date.” That was the in-jest working
title of the new album by this Vancouver band, according to keyboardist Jeremy
Schmidt. A joke, perhaps, but not without truth.

When Black Mountain debuted in 2004, they were a total throwback
to psychedelic hard rock of the ’70s, equal parts Black Sabbath, Pink Floyd and
Lou Reed. Very little has changed, other than the increased prominence of
co-lead vocalist Amber Webber, who’s a welcome disruptor to the sausage party
led by songwriter and guitarist Stephen McBean. The more whimsical side of the
band has also evaporated; they’re heavier and naturally more humourless—and
more power to them. (Maybe that’s why they dropped the working title and went
with the Zeppelinesque IV.)

Most important, however, is that Black Mountain has found the
perfect balance of sludgy, head-banging riffs and the respite of intervals
soundtracked primarily by Schmidt’s spacey keyboards—as well as McBean’s
guitar, which is more textural here than it’s ever been, not just power chords
and solos (though his wrenching lead on closer “Space to Bakersfield” is surely
his finest moment, the closest he’s come to Eddie Hazel’s work on Funkadelic’s
“Maggot Brain”).

The most accomplished tracks here run more than eight minutes
long, showcasing all the band’s strengths simultaneously; these are songs that
celebrate Black Mountain’s longevity, their unity of purpose six years after
their most recent albums, their ability to mature within their imposed
parameters and push themselves to their full potential. One of Canada’s
greatest rock bands of all time is back—yes, with their strongest material
date. (March 31)

Stream: "Mothers of the Sun," "Crucify
Me," “Line Them All Up”

Jeff Buckley – You and I (Sony)

Were he alive, Jeff Buckley would turn 50 this year. He died
when he was 30, having released only one full-length album, 1994’s Grace. The last 20 years have seen five
live albums (one is a two-disc version of a 1993 EP) and two collections of
demos: one made with guitarist Gary Lucas in the early ’90s (Songs to No One), one of recordings
meant to comprise his follow-up to Grace
(Sketches for My Sweetheart the Drunk).

Now we’re hearing the demo reel he cut shortly after signing to
Columbia Records: just Buckley and his guitar, with his A&R man and a sound
engineer in the room. With the exception of the song “Grace” and the sketch of
a song that is the title track here, it’s Buckley running through eight
eclectic covers, three of which can be heard on the extended Live at Sin-é album (Bob Dylan’s “Just
Like a Woman,” “Calling You” from Baghdad
Café, Led Zeppelin’s “Night Flight”). New to all Buckley fans will be his
takes on the Smiths’ “The Boy With the Thorn in His Side,” Sly and the Family
Stone’s “Everyday People,” the blues standard “Poor Boy Long Ways From Home,”
and the oft-covered classic “Don’t Let the Sun Catch You Crying.”

Seeing how Buckley’s most enduring recordings and performances
are of him performing Leonard Cohen’s “Hallelujah” solo, it’s shocking that
this reel took so long to see the light of day. Those other releases can—and
have been—accused of scraping the bottom of a barrel, but that can’t be said of
You and I. Buckley was always a
superior interpreter rather than a gifted songwriter; turning these songs
inside out with that unbelievable voice of his.

You and I, for all its charms,
also displays some of young Buckley’s flaws. Though he’s capable of elevating
“Just Like a Woman” to places Dylan could never take it, his caterwauling
emulation of Robert Plant is best left forgotten. And the sense of hushed
dynamics he would later display on “Hallelujah” would be welcome on “Calling
You,” where he sounds more like a young buck trying to impress than a singer
who’s taken time to inhabit the song.

Of course, that’s exactly what he was: young and trying to get
our attention. Which he certainly did—and continues to do, all these years
later. (March 17)

This 19-year-old Brit starting writing songs late at night in
her parents’ basement, when she was supposed to be studying for exams. Her
academic plans quickly took a back seat. Her second-ever gig was a set at the
Glastonbury Festival. Now, following an acclaimed 2015 EP, comes her debut,
produced by Rodaidh McDonald, whose atmospheric work with The XX is utilized
effectively here.

Holly Låpsley Fletcher is a piano-ballad kind of girl with a
big, soulful voice, but she’s also in love with electronics, which means Long Way Home sounds at times like a
marriage between Adele and James Blake—a happy marriage, at that. For someone
with as huge as voice as hers, Låpsley uses it judiciously, never indulging in
showboat moments. In fact, the cadence of her delivery owes more to the noirish
ballads of Drake or Kanye West—except, of course, she can actually sing,
unadorned. The only incongruous moment on this nocturnal record is the disco
excursion on “Operator”; it’s a direction one could see Låpsley going in the
future—perhaps collaborating with her labelmate and BFF Shamir? (March 17)

Stream: “Heartless,” “Falling Short,” “Cliff”

Loretta Lynn – Full Circle (Sony)

I simply cannot believe this woman is 83 years old. There is
virtually no sign of the ravages of time in her delivery or her timbre—how do
we know these aren’t vocal outtakes from 1980 set to new instrumental tracks?
Has anyone fact-checked this? It seems too good to be true.

Yet here she is, on her first new album since 2004’s Jack
White-produced Van Lear Rose,
shacking up at the Cash Cabin Studio in Hendersonville, Tennessee, with
co-producers John Carter Cash and her own daughter, Patsy Lynn Russell. As on seemingly every single album by an artist
on the other side of 75, there are re-recordings here of iconic early hits
(“Fist City”), songs she grew up with (“In the Pines”), and songs that directly
confronts mortality (“Who’s Gonna Miss Me?”, the Willie Nelson duet “Lay Me
Down”). There are no sonic tricks, no attempt to pander to young hipsters, just
a straight-up, traditional country record featuring a legendary singer and a well-curated
slate of songs. (March 10)

The Toronto duo who helmed Drake’s monster 2013 hit “Hold On
We’re Going Home” finally gets a proper introduction on their debut
full-length, where their take on smooth and soulful electro-R&B stakes its
place in a crowded field. Seductive singer Majid Al Maskat is
easily the sexiest Canadian singer since Mike Milosh of Rhye—hell, he can even
make an ode to the suburb of “King City” sound alluring. Majid Jordan sound
distinctly suburban, the soundtrack to driving down six-lane roads home from
downtown at 3 a.m. They don’t have the audacity of The
Weeknd or the swagger of Drake; because they’re signed to Drake’s OVO label,
expectations were sky-high—and not remotely close to being achieved, as many
chart-watching cynics were quick to point out based on the first few weeks of
sales. But Majid Jordan is more about the soft sell; they have more in common
with the Junior Boys than they do Miguel. Despite their Drake hit and their
high profile, they’re also still finding their feet; right now, they sound like
they’re one album way from greatness.

(March 17)

Stream: “King City,” “My Love” feat. Drake, “Learn From Each
Other,”

Selina Martin – Caruso’s Brain (independent)

“Why is the harder road always the way to go?” sings Selina
Martin on her fourth album, the music of which answers her question for her:
because refusing to take the easy route makes Martin’s music that much more
rewarding. She’s a female singer-songwriter who doesn’t do acoustic ballads;
she’s a rocker who doesn’t hide anonymously behind a band; she’s a guitarist
who loves manipulating electronic textures.

Martin has always had an ear for
pop hooks—her last album, Disaster Fantasies, was full of them—but here she and
producer Chris Stringer seem just as interested in what lies underneath, both
in terms of overall sonic sorcery and in particular the ways in which they can
manipulate the live drums of Jesse Baird (Feist). Martin is interested in
messing with rock music in ways few people have in recent years; the only
recent analogue that comes to mind is EMA; the furthest precedent is Post-era Bjork (the groaning electronic
sirens in “The Addicted” recall “Army of Me,” but there are other hints
throughout). Always a strong lyricist, Martin scores here on several tracks,
but most especially “Wish List,” the rare new Christmas song that will actually
survive the (past) season, with bonus points for local references (“I’m feeling
hollow / here in Toronto”). (March 3)

Stream: “Lay Down Your Arms,” “Hawaii,” “When the City Fell”

Minotaurs – Weird Waves (Static Clang)

Guelph’s Nathan Lawr has had a rich and varied career, both as
sideman (Royal City, Bry Webb, King Cobb Steelie) and as a solo
singer-songwriter, but it’s his third album with Minotaurs that might well be
his finest hour. The band started out as a way for Lawr to explore his love of
1970s Afrobeat, an influence that still reigns supreme. On Weird Waves, however, he recorded his live band’s rehearsals and
then deconstructed the tracks at home, applying a dub reggae remix sensibility
to the material and applying psychedelic textures throughout. Lawr (full
disclosure: an old friend) told me he took singing and dancing lessons before
the writing and recording of Weird Waves,
and it shows: his vocals are stronger than ever, and his grooves have never
sounded so fluid, the funk never forced. By letting go, he’s never been so in
control. (March 10)

Stream: “Echoes,” “Gold Rush Lady,” “Underground Age”

Nap Eyes – Thought Rock Fish Scale (You’ve Changed)

Fronted by a mumbly man who owes debts to Lou Reed and Stephen
Malkmus and fronts a surprisingly subtle rock band who don’t use any
distortion, Nap Eyes just might be the most refreshing thing to happen to
what’s left of Canadian indie rock (’90s definition) in many years.
Singer/songwriter Nigel Chapman exudes a nonchalance that’s countered by an
obvious attention to detail he employs in his lyrics. That’s true of the band’s
arrangements as well, which sound like what a skilled and sympathetic group of
players managed to conjure on the spot (shades of mid-period Destroyer). That
said, this is still a young band where the promise outweighs the results, but
they’re one to watch. You can watch Nap Eyes at the e-Bar in Guelph on April 6
with Julie Doiron, as part of the can’t-miss Kazoo Festival, which runs April
6-10. Check out the festival’s full schedule at kazookazoo.ca. (March 31)

Stream: “Stargazer,” “Don’t Be Right,” “Lion in Chains”

Sarah Neufeld – The Ridge (Paper Bag)

Pulsing 16th notes are usually the domain of
metal, punk and frenetic techno. Here, they drive the solo violin work of
Arcade Fire’s Sarah Neufeld on three tracks that form the centrepiece of her
third album, two of them over seven minutes long—of course, they fall into none
of the aforementioned genres. The Ridge
is billed as Neufeld’s “pop” album, which it surely is only in relation to the
rest of her catalogue, solo or with Bell Orchestre. Unlike her debut, 2013’s Hero Brother, The Ridge features Neufeld’s voice prominently on several tracks;
Arcade Fire bandmate Jeremy Gara also contributes drums, while Colin Stetson—with
whom she made the Juno-winning duo album Never
Were the Way She Was—plays some bass synth.“Chase
the Bright and Burning” sounds like the Doctor
Who theme repurposed for bass drum, voice and violin; little else here begs
obvious comparisons—which of course is to Neufeld’s advantage. (March 3)

Stream: “We’ve Got a Lot,” “The Glow,” “Where the Light Comes
In”

Poirier – Migration (Nice Up!)

For the last 10 years, Montreal producer Ghislain Poirier has
been mutating dancehall, soca and Brazilian styles into his DJ nights and
original material. He’s released various EPs and singles since his 2010 album
for Ninja Tune, Running High, as well
as a detour back to his roots in abstract electronics under the name Boundary
(Poirier originally came from the same minimalist scene as Tim Hecker).

So for his first full-length in six years, Poirier comes out
swinging, with massive tracks that build on everything he’s ever done, whether
it’s straight-up reggae and soca or draping chilly electronic textures over
instrumental dancehall beats. Global guests on the aptly titled Migration include New York-via-Jamaica
dancehall MC Red Fox, electro-reggae Chicago-via-Panama MC Zulu,
Berlin-via-North Carolina producer Machinedrum, Toronto’s Dubmatix,
Montreal-via-Haiti MC Fwonte and longtime collaborator Face-T. The thread
throughout is Poirier’s finely honed aesthetic: the man is a veteran, not a
dabbler, and his 15 years of experience can be heard in every track. His
curiosity carries him anywhere with bright sunshine and deep bass, bringing it
all back to the city in Canada where you’re most likely to find a street party
on any given summer night. (March 10)

Stream: “Positive Up” feat. Face T, “Jump” feat. Red Fox,
“Cobra”

Iggy Pop – Post Pop Depression (Loma
Vista/Universal)

Iggy Pop knows everyone wants him to be the shirtless rocker
that still fronts the Stooges occasionally: much of his discography of the last
30 years bears that out, with mixed results, to say the least. But there’s the
other side of Iggy Pop that he keeps insisting on, that of the poetic lounge
lizard, the kind of guy who records bossa nova classics and songs by Serge
Gainsbourg and Edith Piaf or recites Walt Whitman’s Leaves of Grass. (All of which he’s done recently.)

On what he’s suggesting is likely his last album, the
68-year-old teams up with Josh Homme (Queens of the Stone Age, Eagles of Death
Metal) for a dignified departure, one that captures the crunch from the best of
his non-Stooges solo work—i.e. his 1977 albums produced by David Bowie, or his
late ’80s, early ’90s renaissance—and sets it to material worthy of the
baritone crooner he’s always deserved to be recognized as. Strings, brass and
orchestral bells augment a heavy rhythm section, with Spanish and Asian
influences sneaking into the mix alongside an ’80s post-punk gloom (in fact,
one can just as easily hear Siouxie Sioux singing much of this material).

It’s all going so well… until the last two tracks, the second
last of which has the rather befuddling chorus of, “When you get to the bottom,
you’re near the top / Your shit turns into chocolate drops.” Um, well then.
What’s an Iggy Pop album without a detour into the gutter? Sadly, the whole
affair ends with a two-minute rant tacked onto the end of “Paraguay,” where the
proto-punk rocker sounds like Clint “get off of my lawn” Eastwood, yelling at
some poor sod to “take your laptop and shove it into your goddam foul mouth…”
It gets even worse from there.

Oh, Iggy. (March 24)

Stream: “Break Into Your Heart,” “Gardenia,” “American Valhalla”

Santigold – 99 Cents (Warner)

Three albums in eight years leaves a lot of long gaps for a pop
artist, but Santi White is always worth the wait. Modern pop and R&B fuse
with reggae and ’80s bubblegum, often all at the same time. That’s why she’s
collaborated with everyone from the Beastie Boys and the Yeah Yeah Yeahs to
Kanye West, A$AP Rocky and M.I.A., and written songs for pop stars. When she
makes her own records, she calls in plenty of heavyweights: this time out her old
pals Diplo and Switch are too busy, but TV on the Radio’s Dave Sitek returns,
while Rostam Batmanglij (ex-Vampire Weekend) and Hit-Boy (Beyoncé, Jay Z) also
pitch in. Toronto’s ILoveMakonnen shows up for a catchy duet, produced by Doc
McKinney (The Weeknd). The consistent sound here shows that it’s Santigold in
charge, however. It’s hard not to compare the sound of this record to Grimes’s Art Angels—one of biggest buzz records
of the last six months—and realize that Grimes and everyone else are just
catching up to where Santigold has been for years. If only Rihanna’s Anti sounded this good. (March 3)

Tribute records are usually the worst, a hangover from the ’90s
that overstayed their welcome. These days most are online only and a curiosity
at best. What, pray tell then, is this, a glossy, well-packaged tribute to the
blues singer Blind Willie Johnson, a man who only recorded 30 songs in his
lifetime, all cut between 1927 and 1930?

Producer Jeffery Gatskill has been working on this project
slowly for eight years; his patience paid off in the lineup he assembled here:
Tom Waits, Lucinda Williams, Cowboy Junkies, Sinead O’Connor and more. There’s
no telling if he commissioned others and jettisoned anything that didn’t cut
the mustard, but his quality control is impeccable. Unlike 95% of all tribute
albums ever made, there’s no filler here.

At first glance, it’s peculiar that Gatskill commissioned all
white artists—with one exception, the Blind Boys of Alabama—to cover an iconic
African-American artist. On the flip side, Gatskill’s previous project, Gotta Serve Somebody, focused
exclusively on African-American gospel artists covering Bob Dylan. Still, the
lineup here reflects the odd fact that the only bankable stars who champion
blues in 2016 are ones largely removed from the music’s history. (Still: no Ben
Harper? Gary Clark Jr.? And though not “bankable names,” I’d love to hear
Willis Earl Beal or Mirel Wagner here.)

Waits and Williams get two songs each here—and deservedly so.
Waits has drawn closer to the blues the older he gets; Williams started out
singing mostly blues covers; both inhabit these songs and turn them inside out,
with equal parts reverence and reinvention—which is all anyone could ask for in
a cover version. Cowboy Junkies pull the audacious trick of sampling the
original artist in their performance, which shouldn’t work at all—a
middle-class Canadian woman duetting with a long dead bluesman who died in
poverty—and yet it does. Maria McKee, who hasn’t been heard from in at least 10
years, reappears in fine form and full voice on “Let Your Light Shine on Me.”

Of course, like any tribute album good or bad, this ultimately
makes you want to revisit Blind Willie Johnson himself. But these recordings
all stand tall on their own, enhancing his legacy rather than tarnishing it.
(March 31)